About Chocolate Oxidized
This [padmapani Lokeshvara], Buddhist Handmade Statue, [chocolate Oxidized] has been meticulously treated with a chocolate color antique patina. The intention behind this patina is to replicate the appearance of a copper statue that has gracefully aged over a century. Unlike a simple coat of paint, this patina is not applied superficially and is designed to endure. It undergoes an artificial oxidation process that adds depth and character, while also serving as a protective layer against natural oxidation.
By imitating the natural aging process, the chocolate color antique patina lends an air of authenticity and vintage charm to the [padmapani Lokeshvara], Buddhist Handmade Statue, [chocolate Oxidized]. This carefully crafted finish ensures that the patina remains intact for an extended period, offering longevity and resistance to wear. The result is a unique piece that captures the essence of a time-worn copper statue, evoking a sense of history and artistic heritage.
Lost-Wax System
This Others of [padmapani Lokeshvara], Buddhist Handmade Statue, [chocolate Oxidized] is made by the process of the Lost Wax system. This is a very complicated, time consuming and historic process of making metal sculptures.Which is why it is sometimes called Precision Casting as well. Hence the sculptures made by this process are comparatively expensive. There are many new, advanced and less time consuming methods of casting metal sculptures available as well. But due to the benefits provided by the traditional lost wax system in quality control and customization, we prefer the Loss wax system over Ceramic molding, or sand casting to make our Others.
Below we have tried to illustrate the process of making a loss wax system statue:
The method of metal casting in which a molten metal is poured into a mold that has been created by means of a wax model. Once the mold is made, the wax model is melted and drained away. Bronze statues come to life differently than marble statues. Instead of carving a block or marble, the bronze artist uses the lost-wax technique to make a series of molds, and then pours melted bronze into the final mold to create the sculpture. This method has been around since 4500 BCE.
There are few important steps in lost wax casting process :
Step 1: Sculpting ( It all starts in the studio with an idea, Then figuring out how to realize the vision in clay.)
Step 2: Mold Making.
Step 3: Wax Pouring.
Step 5: Wax Spruing.
Step 6: Shell Dipping.
Step 7: Bronze Pouring.
Interestingly enough Loss wax process is also called Investment casting because after layers have been formed and dried, the wax is melted out of the ceramic tree by using steam (120°C) in an autoclave. This is why it is called "lost wax casting". The majority of the molten wax which can then be regenerated and is reusable.
Before Making statue :At work room making the wax models.
Softening a piece of wax over a brazier.
Relaxing after softening the wax The working environment with works in progress.
Working the face of an Ekajata wax model.
Working the face of wax model.Using a modeling tool to form the face of Ekajata.
Deatail of wax model
The design for Ekajata compared to the Tibetan book on which it was based.Statues Maker Are master in buddhism .
Detail of A partially finished Candamaharoshana (Acala) wax figure made in the Tibetan style.
A finished wax image of Mahakala.
Anthor Finished Wax Model of Shakyamuni Buddha
One of the modelers working in the room shows the Pehar image on which he is working.
The artist showed how the goat , which had been completed earlier, fits under the image. ,
Tej Jyoti Shakya and his wife, Nani Maya Shakya Covering the wax model in a mixture of clay and dung
Pressing the mixture of clay and dung around the wax image.
The board with the clay and dung mixture ready for use.
Model Pieces drying after the initial (dipped) thin layer of fine clay.
Clay-covered model pieces drying in the sun.
Molds waiting to be put into the burnout furnace
The same molds, seen in the previous image, in the burnout furnace
The double row of refractory bricks used to support the heated molds during casting.
The melting furnace and a pile of coke used for melting the metals. Laying the bed of coke in the melting furnace.
The first ignition of the coke.
Checking the coke bed.
The electric blower used to force air into the melting furnace
Beginning to fill the crucibles with scrap copper.
Preparing the bed of burning coke to receive the crucibles
Sorting various metals used in the alloys.
Weighing precious metals that are used in the alloys
Weighing copper from Singapore to achieve a correct alloy.
Different sizes of crucibles and various types of metals to be cast in this melt.
Placing the crucibles in the bed of coke filled with metal are in place.
After the crucibles are in place, more coke is piled around them.
The crucibles are covered with scrap metal to hold in the heat.
The electric fan is then connected.Soon a very hot flame is produced.
The entire furnace temperature goes up to about 1800 -1900 degrees.
Setting up molds in between the refractory bricks to receive the molten metal. Handling the molds with asbestos gloves and bracing them with fragments of bricks.
Pouring the molten metal into the base of a mold
Another view of the artists pouring the molten metal.Detailed view showing the molten metal being poured into the sprues.
Preparing to lift and pour molten metal from one of the larger crucibles.
Cooling a mold containing the recently poured metal.
Beginning to break away the clay mold from the metal casting. The mold breaks away revealing the metal image inside
The first metal image from the day's work.
Examining the image for flaws
Two auras (prabhamandalas), one that cast perfectly and one (in front) that only partially filled.
Opening more molds
Researchers mark specific metal images for future identification.
Cleaning the details of the image with a metal tool.
Sawing off the sprues from Aura image. The sprue metal will be reused in future castings.
Two auras that worked perfectly. The one on the right has been cut off of the sprues, while the one on the left still has the sprues attached.
The finishing specialist begins the finishing process with a set of tools, including a small hammer. to give more detail
The entire surface of the image will be gently hammered to a final, almost polished finish.
The finisher's tools and the work in progress
Finishing work on an image of the Buddha.
Hammering the chest of an image that is being held against the work block
A Buddha image hammered and chased to the final, detailed finish.
Cleaning in a very mild acid bath. The image and prabhamandala are placed in a final acidic bath to make sure the surface is absolutely clean.
Drying the image with a blow torch.
Brief Introduction :Padmapani is also a form of Avalokiteshvara. He is generally seen standing on the right side of Buddha Amitabha in Sukhavati Heaven. He is depicted as red in color. He holds a lotus flower in his left hand and shows varada mudra with his right hand. He wears an antelope skin on the shoulders. He wears all the ornaments typical of a bodhisattva symbolizing his enlightened experiences. He wears a crown and his hair is bound to form a top knot. Sometimes it is eclipsed by an effigy of Amitabha Buddha. When there is no effigy of Amitabha Buddha in the crown of Padmapani, he is then white in color.
Iconography :Padmapani Lokeshvara wears an antilope skin on the shoulders. Padmapani Lokeshvara wears all the ornaments typical of a bodhisattva symbolizing his enlightened experiences. Padmapani Lokeshvara wears a crown and his hair is bound to form a top knot. Sometimes it is eclipsed by an effigy of Amitabha Buddha. When there is no effigy of Amitabha Buddha in the crown of Padmapani, he is then white in colour.
Legend :A legend says that once an elephant was going to pick up a lotus flower in a pond. Unfortunately he slipped into the mud. Padmapani Lokeshvara cried in agony and prayed for Narayana. In the mean time Arya Avalokiteshvara was in that jungle and he heard the prayer. Immediately he took the form of Narayana and rescued the elephant from the marshy pond. Then Avalo-kiteshvara took the lotus offered by the elephant and went to Jetavana grove where Buddha Shakyamuni was residing. He in turn offered this lotus flower to Buddha Shakyamuni. Buddha Shakyamuni thanked Avalokiteshvara for his offer of the lotus flower and requested him to offer it to Lord Amitabha on his behalf. Avalokiteshvara told the whole story to Lord Amitabha Buddha. Appreciating the philanthropic deeds of Avalokiteshvara, Buddha Amitabha told him to keep that lotus flower forever and continue the act of benefitting all sentient beings. Later
on Avalokiteshvara was known as Padmapani Lokeshvara.
In Kathmandu valley nun.erous images of Padmapani Bodhisattva or Lokeshvara are found. Padmapani Lokeshvara found in Shreegha vihara in Kathmandu is believed to be of the fifth century of Christian era. According to Pandit Hem Raj Shakya 202 images or sculptures of Padmapani carved in stones are found in Patan city alone dating as early as theLichchavi period.
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